Schumann's Waldszenen (Forest Scenes), Op. 82 (1848-49) consists of nine short pieces similar in style and spirit to the composer's Kinderszenen (1838). "Eintritt" (Entrance) features unusual, asymmetrical phrasing. "Jäger auf der Lauer" (Hunter in Ambush) is an exciting, technically challenging piece in the cast of a typical nineteenth century hunting song. The difficulties of "Einsame Blumen" (Solitary Flowers) lie in maintaing balance between the two distinct voices in the right hand; otherwise, it is simple and melodic. "Verrufene Stelle" (Haunted Spot) evokes an air of eerie mystery with passages in slow dotted rhythms, while the fast, tricky triplets of "Freundliche Landschaft" (Friendly Landscape) create a surprisingly poetic effect. "Herberge" (At the Inn) presents a variety of material that requires great sensitivity to balance.

The best-known and most striking piece of the set is "Vogel als Prophet" (The Prophet Bird); its cross-relations, incomplete melodies, and extreme delicacy of texture create a weirdly beautiful atmosphere. "Jagdlied" (Hunting Song) is the second of the Waldszenen in this style and the example more typical of the genre. Rapidly repeated triplet chords both lend the piece rhythmic drive and pose a substantial technical challenge. The concluding "Abschied" (Farewell) is a touching song without words. The Waldszenen may rightly be regarded as Schumann's last really fine keyboard work. The decline in the composer's mental and emotional capacities in ensuing years led him to redirect his energies largely toward the compilation and revision of earlier works rather than the production of new music. The set is dedicated to a young lady named Annette Preußer.